Posts tagged ‘Ceramics Research Center’
The ASU Art Museum is thrilled to add its first Sergei Isupov sculpture into the permanent ceramics collection thanks to David Charak, Ferrin Contemporary and the artist. Isupov’s piece, Firey, created from stoneware, stain and glaze, is a beautiful new addition to the collection. It was given to the museum from a series of Isupov’s large-scale heads and appeared at the NCECA 2009 conference at the Mesa Contemporary Arts.
Russian-born artist Sergei Isupov is quite often called an erotic Surrealist for his bold depictions of sexuality, relationships and human encounters. He uses his own experiences as well as human observation to create a unique approach to the world of sculpture. “My work portrays characters placed in situations that are drawn from my imagination but based on my life experiences,” said Isupov. “My art works capture a composite of fleeting moments, hand gestures, eye movements that follow and reveal the sentiments expressed.”
Various narrative themes are conjoined together to create Isupov’s sculptural ceramic forms, inspired by particulars from his life. Personal interpretation is very much expected with his work.
Isupov states that, “Through the drawn images and sculpted forms, I capture faces, body types and use symbolic elements to compose, in the same way as you might create a collage. These ideas drift and migrate throughout my work without direct regard to specific individuals, chronology or geography…Through my work I get to report and explore human encounters, comment on the relationships between man and woman, and eventually their sexual union that leads to the final outcome — the passing on of DNA which is the ultimate collection — a combined set of genes and a new life, represented in the child.”
Firey, alongside numerous other ceramic works from the ASU Art Museum’s collection, is on display now at the Ceramics Research Center at the Brickyard, located at 699 S. Mill Ave, Suite 108, Tempe, Ariz. 85281. If you haven’t seen our beautiful new space yet, you’re missing out! Plan your visit today, or call 480.727.8170 for directions and hours.
— by Nicole Lechner, ASU Art Museum intern
Each piece in the exhibition Turn off the Sun, on view at the ASU Art Museum through Sept. 7, packs tremendous heat, power and impact. Drawn from La Colección Jumex in Mexico City, an incredible private contemporary art collection of about 2,600 works, Turn off the Sun displays two dozen of these searingly honest and beautiful pieces. This is only the second time that any of the Jumex collection has been shown in the United States.
The exhibition title did not come about from a concentrated brainstorm though, but rather from joking about the weather. During Jumex director Patrick Charpenel and curator Michel Blancsubé’s site visit to the ASU Art Museum in the summer of 2012, the two started an ongoing joke about how someone needs to “turn off the sun.” When curator Julio César Morales joined the staff in the fall and heard it, he pointed out how that’s not necessarily a joke—that’s a great name.
“When I heard this phrase, I thought it was a brilliant title, and the more it was discussed by myself and Heather Sealy Lineberry, the more we thought the title really connected with artworks in the exhibition and addressed ideas of site, adaptability and physical displacement,” Morales said.
ASU Art Museum senior curator and associate director Heather Sealy Lineberry said the museum staff became interested in the social and political implications of brining the contemporary art collection from Mexico to Arizona and how the content of the work would shift just by the very nature of having it here.
The artworks address several types of issues between Mexico and the United States, among them borders, landscape, lines, labor, politics, economics, faith and awareness.
One example is “Cuando La Fe Mueve Montañas” (“When Faith Moves Mountains”) by Francis Alÿs, a conceptual performance artist. In the multimedia installation, the artist has a group of people move a mountain with shovels to create a line, like a curious border. Another is “Security Fence” by Liza Lou, which explores dark psychological spaces of violence and confinement. Santiago Sierra’s artwork “3000 holes of 180 x 50 x 50 cm each” is a triptych of three photographs and a performance piece that he created while in southern Spain, looking across to North Africa where many immigrants come into Spain. On video Sierra highlights matters of struggle and immigration by showing the 3,000 shoveled holes, mostly dug by Senegalese and Moroccan day workers over the course of a month with a Spanish foreman overseeing the labor.
“These three pieces pulled at our imagination and were tremendous anchors for what we wanted to do with the exhibition,” Lineberry said.
In an interview with San Francisco Arts Quarterly, Blancsubé also explained, “I generally don’t choose a theme and then look for artworks to sustain or feed it… I am seduced by artworks and imagine funny games between them. The theme or the discourse comes after or during the construction, and in a way it is suggested by the artworks themselves.”
Along with the choosing of the exhibition title, another unexpected aspect of Turn off the Sun is that there are no labels next to the pieces. Instead, there is printed material at the entrance of every gallery space that includes technical information, biographies and further text about the artistic process of all the artworks. This allows people who want to make their own relationships with the work to have that possibility. With each exhibition, the museum experiments with how to provide information for the visitor, and different kinds of exhibitions warrant different information systems.
Blancsubé said the information related to the artworks is accessible for curious visitors, “but not having plaques plugged on the wall near the artworks allows visitors to have a first approach of the artworks on their own without receiving from the beginning glasses that oriented their viewing.”
“We thought the design and artworks look so clean and beautifully installed that labels would interrupt the artwork itself,” Morales said. “I was more interested in the audience having a visceral experience of the work and engaging with it without any other materials to distract from that experience.”
Though some visitors are more comfortable with text panels, many are pleasantly surprised and enjoy the practice of making their own connections with the works.
Lineberry said she sees people relating to the artworks and broadening their thoughts about the border: “I think a lot of people are coming away with a pretty amazing experience of the works individually and the process of piecing them together as a narrative in their minds.”
–Mary Grace Richardson
Images, from top: “Overpass,” by Jeff Wall; “Cuando La Fe Mueve Montañas” (“When Faith Moves Mountains”), by Francis Alÿs; “Security Fence,” by Liza Lou, and “3000 holes of 180 x 50 x 50 cm each,” by Santiago Sierra. All photos by Craig Smith.
Christine Lee takes in the disregarded, salvages the thrown away and harbors the excess. For this wood-based artist, the original intention of a material is only a hint of a much more meaningful possibility, making Lee’s artwork a process-driven venture and a thorough material investigation.
Lee’s work crosses back and forth between sculpture, furniture, woodworking and installation. As part of the ASU Art Museum’s Crafting a Continuum series, Lee has given public lectures, taught classes and installed her own work at Combine Studio in downtown Phoenix.
The Crafting a Continuum series is sponsored by a Windgate Charitable Foundation grant, which has enabled the museum to attract and support craft-based visiting artists, such as Lee, who incorporate new ideas and technologies into their artwork.
“I think they were interested that I was working with a range of composite material and creating functional and sculptural work,” Lee said. “I feel like they both can happen in the same studio space.”
Lee’s work stretches the standard associations and intended functions of ordinary materials. According to Lee, people now are looking at the material and how it is being used, but not in a way to determine which medium is better than another: “It’s not so much about the end result of what you make but how you take that material and transform it. It’s the process and where it goes.”
In this sense, public perception of what is craft art and what is fine art is changing. Lee says she believes the line between the two will either significantly blur or be completely nonexistent in the future. “People realize it’s not so much about categorizing everything,” she said. “It’s more about seeing what can happen when you start weaving things together.”
Last month Lee put together Piece by Piece, an exhibition at the ASU International Artist Residency facility at Combine Studios, in downtown Phoenix, for which she stacked slender individual pieces of wood to fan out over an entire wall. No glue, no nails — just balance. This wasn’t her first endeavor for a project like this, however. In other galleries she has created similar works on walls, spanning up to 26 by 12 feet.
With her own art, Lee strives to create substantive art that is both useful and aesthetic. She added, “It seems these days there’s more exciting work out there that straddle those areas.”
Lee finds potential in material that people casually throw out, a trait she attributes to her family’s concern about not wasting and appreciating the value of things.“We would reuse things like aluminum foil and we wouldn’t throw it away unless we absolutely knew we couldn’t use it,” she said. “And that stayed with me. I’m always very conscious about what I use and if someone throws away a scrap, I’m like, ‘That’s perfectly usable.’”
As part of her residency Lee taught a class for the Fall 2012 semester — ART 494/598, Sustainable Wood Art, an upper division seminar in the wood program of the Herberger Institute for Design and the Arts — which she is teaching the Spring 2013 semester as well. Lee’s students use composite boards formed by collecting sawdust and fibers and putting the raw materials into processing chambers. Prototypical, a show on view in December and January in Wrigley Hall, home to ASU’s Global Institute of Sustainability and School of Sustainability, highlighted work Lee’s students made using a patent-pending interior composite panel developed by Lee and research engineer John F. Hunt of the USDA Forest Service, Forest Products Laboratory. The panels are naturally bonded without an adhesive binder such as urea or phenol formaldehyde and are biodegradable.
What Lee enjoys most about teaching is watching her students as they grow to understand the process and connect with what they make. “Teaching for me is really exciting because I like the dynamics between interacting with people who are very excited about learning something new, and I also like watching them kind of see that transformation of material happen,” she said.
By encouraging recycling and reuse, her students have initiated a sustainable practice in their work. Peter Held, the curator of ceramics at the museum, said the students’ work has evolved as they applied the lessons they learned in Lee’s clas: “ [She] is not only a talented and innovative artist but is exploring the intersections of art, craft, design and application of new materials in her artistic practice. This interdisciplinary approach to the arts is an important initiative for the museum. When Lee taught the wood class, she brought fresh ideas and techniques to the students.”
Maren Romney, a senior sculpture major and former student of Lee, explained she more consciously considers the materials she uses when making art after taking Lee’s class. “[Her] class… helped me to understand what I can do on an individual level,” Romney said. “She really did a great job of creating discussions about the importance of sustainable design and living and brought up points from multiple points of view, which I really appreciate.”
Romney added she feels privileged to have taken a class under Lee’s direction, and she hopes Lee makes Arizona a permanent home.
During her time in Phoenix and Tempe, Lee has found a wealth of possibilities.
“I feel like there is so much to tap in here,” Lee said. “I just felt it was very serendipitous that I could be here working on this.”
—Mary Grace Richardson
To see more images of Christine Lee’s show at Combine, visit the ASU Art Museum International Artists Residency at Combine Studios Facebook page.
The ASU Art Museum’s Season Opening is this weekend — Friday and Saturday night, from 6:30-9 p.m. — at both the Museum and the Ceramics Research Center.
The events are free and open to the public, and there’s something for everyone, from the premiere of a video/dance piece in the Nymphaeum to a parkour team using the building as their canvas to food trucks in the parking lot.
The parkour group Movement Connections will perform from 6:30-7:30 p.m. Then, at 7:30 p.m., composer/musician Wayne Horvitz will premiere 55: Music and Dance in Concrete, his collaboration with choreographer/dancer Yukio Suzuki and video artist Yohei Saito.
You can get a taste of 55: Music and Dance in Concrete here: http://www.youtube.com/watch?feature=player_embedded&v=3x6OPYI6ZE4
Below are some shots by photographer Sean Deckert of Movement Connections in action, plus some photographs (also by Sean Deckert) from ISEA2012, in Albuquerque, where artist Miguel Palma presented his “Desert Initiative Remote Shuttle,” which will be on display at the opening as part of Palma’s show Trajectory.
Join us on Friday and/or Saturday night for the big show! So nice, you might just want to come by twice.
The Desert Initiative is taking the International Symposium on Electronic Art in Albuquerque by storm — or haboob, to be desert-specific — where it’s kicking off Desert Initiative: Desert One, a.k.a. DI:D1, which runs now through the spring of 2012 and encompasses exhibitions and projects around the Southwest.
DI Director Greg Esser is participating in ISEA2012: Machine Wilderness, Sept. 19-24, as are ASU Art Museum Director Gordon Knox, artist Chip Lord (whose Ant Farm Media Van v.08 [Time Capsule] is on view at the CRC, and ASU Art Museum International Artists-in-Residence Clare Patey (England), Miguel Palma (Portugal) and Matteo Rubbi (Italy).
On Sept. 20, Knox, Patey and Phoenix artist Matt Moore presented at the symposium on the topic of extinction; Patey and Moore are collaborating on a project titled Rare Earth, to be unveiled at the ASU Art Museum in the spring of 2013.
Here are Patey and Moore pre-presentation:
Chip Lord will speak about the Media Van on Monday, Sept. 24 and Miguel Palma will be one of the featured artists during 516 Arts Downtown Block Party on Sunday, Sept. 23, with his Remote Desert Exploration Vehicle, a converted former military vehicle that explores desert surroundings during the day and returns to urban areas to project the desert imagery on buildings at night.
The Remote Desert Exploration Vehicle will be on view at the ASU Art Museum starting Sept. 28, as part of Palma’s exhibition Trajectory.
Here are some photos by Phoenix photographer Sean Deckert of the Remote Desert Exploration Vehicle’s trip out to Albuquerque:
And if you’re wondering about those passports pictured in the slideshow above: Stay tuned…
What are three things you could not live without? What are you looking forward to for this year? What is your obsession?
These are some of the questions pondered at the ASU Art Museum last Saturday, the 25th of August. Each of the buildings in the Arcadia Residential Community was given a blank filing box and told to build a time capsule out of it to be opened at the end of the year.
We were given sticky letters, tape, markers, oil pastels, anything we wanted to beautify this box with the other residents of our building. Each team deliberated on how they would make their time capsule stand out from the rest. Some people went crazy with tape, and others even wrapped their box in gift wrap, like they were assembling a present for their future selves.
Across the street at the Ceramics Research Center, art museum staff (clad in their awesome AMUSEUM shirts) gave away popsicles from AZ Pops and handed out pages with questions to be answered and put in the time capsule.
Some questions were easy, like the ones I mentioned above. But some really made me ponder: What do you expect to accomplish this year? In what ways do you hope to grow this year?
These were remarkably deep questions for the atmosphere of popsicles and friends in the Ceramics Research Center. But it was as good a time as any to take stock. What DO I expect to accomplish this year at ASU?
After deliberating on those questions, we left the classroom and found the Ant Farm Media Van. Now, this was interesting: an interactive exhibit dedicated to collecting donations from cell phones, camera sticks and other electronic devices.
Now, it looked just like a hollowed-out van with the windows painted over, but inside sat a small green computer, called the HUQQUH (pronounced “hookah”), with cords to fit cell phones sticking out in every direction. The goal was to plug in your cell phone, iPod, or camera, and the HUQQUH would randomly select a file, then copy it to make it an electronic piece of the exhibit. For the most part, it was just taking photos and occasionally songs.
On the wall behind the media van hung a huge poster with little thumbnails of the pictures, songs and files taken during the media van’s time in San Francisco.
It was an entire wall of memories, just little digital files, each randomly taken from someone, making up a collection of images from people’s lives.
I decided that I had to give it a shot. I sat down inside the Media Van and plugged my iPhone into the HUQQUH. It sat for a small time before a picture from my phone appeared on the screen on top. A computer voice came from nowhere, thanking me for my donation and instructing me to unplug my iPhone from the HUQQUH. It spit out a receipt, thanking me for my donation with a little copy of the picture I donated.
The picture taken was a photo of my grandfather, with my little cousin — the last time I saw my grandfather before he passed away last fall.
And now that picture is stored inside the HUQQUH, to travel the country and become a part of the exhibit.
So on the day that we were decorating and putting items into our own time capsule, we were also contributing to a larger time capsule, set to continue its tour and continue to collect small bits of people’s lives. So while the HUQQUH wasn’t pressing us for personal questions, like what am I passionate about, it was still going through my personal phone and pulling out a very personal work about who I am and what I do. In that regard, this was a great day to take stock, and look at ourselves and ask, who are we and where do we want to be?
Oh, and my building’s time capsule? I think it turned out pretty cool.
—Colton Robertson, Community Assistant for Arcadia Residential Community
Photos by Colton Robertson.